Stanford Symphony Orchestra Paul Phillips music director and conductor

Ethan Chi piano soloist

BING CONCERT HALL FRIDAY, 12 NOVEMBER 2021 SATURDAY, 13 NOVEMBER 2021 7:30 P.M.

STANFORD UNIVERSITY DEPARTMENT OF MUSIC

The Stanford Symphony Orchestra wishes to thank Joan Mansour for her recent contribution, and gratefully acknowledges support from our community. If you are interested in learning more about supporting the Stanford Symphony Orchestra, or wish to support Stanford Philharmonia’s upcoming concert tour of Bermuda in March 2022 with a tax-deductible contribution, please contact Tamar Sofer-Geri at tamars@stanford.edu or (650) 464-4236.

Contrabassoon

Jack Liu

Horn

Brennan BowerTheo MaklerClare PhelpsMitchell GarmanyJames CollingsKC Chan

Trumpet

Colin Ovens Johnny DollardEllie FajerAvi GuptaCameron CampDhruv VazeJustine Sato

Flugelhorn

Cameron CampAaron Ghrist

Trombone

Joseph DiazSamuel KwokBrian Pham

Bass Trombone

Taran Kota

Baritone Horn

Noah IslamBrian Pham

Tuba

Andrew LiNoah IslamBrian Pham

Timpani Griffin MillerEshaan RawatJack Xiao

Percussion Ireh KimKatie ChangNaomi MoSeve ReyesSunny SunJack XiaoEshaan RawatGriffin Miller

Harp Vivian TangRenee QinAngelina Chan

Piano Jason Guo

Celesta Jocelyn Chen

Organ Robert Huw Morgan

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Stanford Symphony Orchestra gratefully acknowledges Zack Leuchars and Daniel Valdez for their production assistance with the livestreamed

performance, and the Department of Music and ASSU for their generous support of Stanford’s orchestral program.

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STANFORD’S LAND ACKNOWLEDGMENT STATEMENT

Stanford sits on the ancestral land of the Muwekma Ohlone Tribe. This land was and continues to be of great importance to the Ohlone people. Consistent with our values of community and inclusion, we have a responsibility to acknowledge, honor, and make visible the University’s relationship to Native peoples.

www.stanford.edu/native-peoples-relationship

COVID-19 SAFETY PROTOCOLS FOR DEPARTMENT OF MUSIC EVENTS

The Stanford Department of Music looks forward to presenting in-person events in our venues again as we begin the 2021–22 academic year. Our patrons should be aware that campus-wide COVID policies are still in effect. The following policies are based on current state, local, and university guidance. As has been the case for the past several months, this information is subject to change; we will keep you informed via our various publicity channels and signage posted at our venues regarding current COVID policies applying to our concerts.

Patrons should stay home if they are experiencing a fever or any COVID-19 symptoms, have tested positive for COVID-19 within the past 14 days, or have had close contact with anyone who is confirmed or is suspected of having COVID-19.

In accordance with University requirements for visitors, all visitors (including children) coming to Stanford for indoor or outdoor activities must meet at least one of two criteria: 1) Be fully vaccinated against COVID-19. 2) Receive a negative COVID-19 test within 72 hours prior to arrival onsite.

Masks are required for both unvaccinated and vaccinated patrons across all Department of Music venues. Patrons should bring their own face masks that fully cover their nose and mouth and must wear them at all times. Masks with valves will not be allowed.

While we are taking measures to enhance the safety of our patrons and employees, an inherent risk of exposure to and infection with COVID-19 exists in any public place where people are present, and a visit to a Department of Music venue may still pose a risk to your safety. By visiting a Department of Music event, you voluntarily assume all risks related to exposure of COVID-19. Failure to follow these guidelines will result in removal from the venue.

STANFORD SYMPHONY ORCHESTRAPaul PhilliPs, Music Director and Conductor

Violin i

Robert Hu, concertmasterRoger XiaPeyton LeeSusan LeeConstance HorngAnna KiesewetterKevin ChenMichelle FuSophia KreiderKatie LiuRyan NguyenSydney YanRyan ChiLucy Chae

Violin ii

Sean Mori, principalRichard CheungElizabeth JerstadMeilinda SunHannah WaltonLina FowlerYoungju KimMax SolbergAudrey NelsonRachel ClintonDaichi Skye HoriguchiE Ju RoSophie AndrewsJefferson Dixon

Viola

Addison Jadwin, principal Julia HernandezMiraclestar DobyBrent JuVibiana CardenasRafael Seifu-SchmeingZack BentonIngrid NordbergAman MalhotraChinmay LalgudiSuhas SastryWesley TjangnakaMinh LeDaniel Musachio

Violoncello

Erik Roise, principalAdam ZhaoHaoming SongSimone HsuBrandon KangDaniel BishopJonathan PakJessica LeeKevin JungHannah KimIrene JeongRachel CleavelandCamellia YeNoah Eckman

Contrabass

Bryant Huang, principalKevin MartinCece La PumaAnika FuloriaKayla VodehnalPablo Ocampo

Flute

Kyle SwansonKristie ParkLaura FutamuraCyndia YuMelinda Zhu

Piccolo

Cyndia YuKyle Swanson

Oboe

Kwyn Demmert Benji Reade MalagueñoAaron JinJordan RothkowitzDeborah Jantz

English Horn

Benji Reade MalagueñoKwyn Demmert

Clarinet

Jackson WillisZoe SchrammAudrey Shih

Bass Clarinet

Robert Matthew Wood

Bassoon

Teddy ZhangSonny YoungSagada PenanoVeronica PrattJack Liu

(continued)

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ABOUT THE SOLOIST

Ethan andrEw Chi ’22 is a senior studying Music and Computer Science and an M.S. candidate in Computer Science. He studies piano with Frederick Weldy and organ with Robert Huw Morgan. Previously, he studied piano with Erna Gulabyan, violin with Debra Fong, and organ with Angela Kraft Cross. Ethan has been a prizewinner in the Ross McKee Competition and the Young Pianists Beethoven Competition, among others, and played in masterclasses with Jon Nakamatsu, Hans Boepple, and Sharon Mann. He also plays violin in the Stanford Symphony Orchestra and served as President of the Orchestra Committee in 2020. He loves all kinds of music — from Josquin motets to Debussy to even disco — and can’t imagine life without it. Ethan has lectured and served as a Teaching Assistant in several Computer Science courses and published papers with the Stanford Natural Language Processing and Machine Learning Group based on his research in these fields. At home, he can be found playing with the family dogs, Steinway and Stradivarius.

ABOUT THE ENSEMBLE

The stanford symPhony orChEstra is one of the America’s leading collegiate orchestras, with a distinguished history dating back to 1891, the year that Stanford University was founded. With a membership of 115 undergraduate and graduate students, the SSO rehearses on Monday and Thursday evenings and presents about ten concerts annually on campus. The orchestra performs repertoire from the Baroque to the present, frequently with outstanding student and faculty soloists as well as renowned visiting artists. Recent collaborations with Stanford Live include a pops concert with vocalist Darlene Love; the US premiere of Danny Elfman’s Violin Concerto, featuring soloist Sandy Cameron and guest conductor John Mauceri; Rob Kapilow’s “What Makes It Great?” on Schubert’s “Unfinished” Symphony; and a performance with composer Nitin Sawhney. Each year, the SSO performs the Halloween Concert in collaboration with the Stanford Wind Symphony, collaborates with the Stanford Symphonic Chorus, and hosts the annual Concerto Competition to give talented Stanford students the opportunity to perform as orchestral soloists.Like its sister organization Stanford Philharmonia, the Stanford Symphony Orchestra is supported by the Department of Music and the Associated Students of Stanford University (ASSU). Membership is open to all Stanford undergraduate and graduate students, faculty, staff, and members of the community. Anyone interested in auditioning for the Stanford Symphony Orchestra or Stanford Philharmonia should contact Orchestra Administrator Adriana Ramírez Mirabal at orchestra@stanford.edu. For further information, visit orchestra.stanford.edu.

PROGRAM

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Black Notes and White California premiere Paul Phillips (b. 1956)

I I

Seven O’Clock Shout Valerie Coleman (b. 1970)

I I I

Piano Concerto in A Minor, Op. 16 Edvard Grieg I. Allegro molto moderato (1843–1907) II. Adagio –– III. Allegro moderato molto e marcato

Ethan Chi ’22, pianist2020 Concerto Competition Winner

INTERMISSION

IV

Wood Notes William Grant Still I. Singing River. Moderately slow (1895–1978) II. Autumn Night. Lightly III. Moon Dusk. Slowly and Expressive IV. Whippoorwill’s Shoes. Humorously

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Pines of Rome Ottorino Respighi I. The Pine Trees of the Villa Borghese. Allegretto vivace (1879–1936) II. Pine Trees Near a Catacomb. Lento III. The Pine Trees of the Janiculum. Lento IV. The Pine Trees of the Appian Way. Tempo di Marcia

to EnsurE a morE PlEasant ExPEriEnCE for all: No food, drink, or smoking is permitted in the concert hall. Cameras and other recording equipment are prohibited. Please ensure that your phone, other electronic devices, or watch alarm are all turned off. an additional notE to ParEnts: We appreciate your effort in bringing your children to a live music performance. Out of respect for other audience members and the performers, we count on you to maintain their quiet and attentive behavior. Thank you.

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PROGRAM NOTES

Paul PhilliPs Black Notes and White Arnold Black (1923–2000) was a remarkable man renowned for his superb musicianship, wit, and intelligence, and his endearing personality. Born in Philadelphia, he graduated from The Juilliard School with majors in violin and composition and went on to serve as assistant concertmaster of the National Symphony Orchestra and concertmaster of the Baltimore Symphony — accomplishments made all the more remarkable by the fact that he was born with cerebral palsy, which restricted mobility on his right side. Arnold went on to become an extremely successful composer of jingles, as well as music for theatre (especially Circle in the Square Theatre in Manhattan), concert works, and an opera based on The Phantom Tollbooth by his friend Norton Juster. In 1969, Arnold and his wife Ruth founded the Mohawk Trail Concerts in Charlemont, Massachusetts, a renowned summer concert series now in its 51st year, and by the time I became friends with them shortly after becoming music director of the Pioneer Valley Symphony Orchestra and Chorus in 1994, they were at the center of musical life in western Massachusetts.

To launch the Pioneer Valley Symphony’s 2000–01 season (“A New England Celebration”) with a premiere, we commissioned Arnold to compose a new fanfare for the orchestra, but in June 2000, he died at his home in Charlemont before he completed the work. Later that summer, when Ruth handed me Arnold’s unfinished sketches for the fanfare, which included a noble, diatonic theme in C major, I decided to finish what he had started, embedding his theme in a composition for brass, percussion, and organ titled Black Notes and White: A New England Fanfare, dedicated to the memory of Arnold Black. It begins in F# major (“black notes”) with an original theme of mine, then switches to Arnold’s theme in C major (“white notes”) played by the brass starting with trumpets. The music then returns to F# major with both themes played in counterpoint — mine in the organ and Arnold’s in the brass. Black Notes and White was premiered by the Pioneer Valley Symphony under my direction on 27 October 2001 at Smith College in Northampton, Massachusetts. It opened a concert in John M. Greene Hall of works by Respighi, Poulenc, and Saint-Saëns that all featured organ to celebrate the restoration of that hall’s pipe organ. On this program, Stanford University organist Robert Huw Morgan performs the organ part in Black Notes and White on Stanford’s new Hauptwerk organ, marking the first time that it has been played in Bing Concert Hall. — Paul Phillips

ValEriE ColEman Seven O’Clock Shout Early in the COVID-19 pandemic, Valerie Coleman was inspired by the daily cheers that could be heard from windows and balconies across New York City at 7 p.m. each evening as they welcomed essential workers returning home from their shifts. Coleman was commissioned by the Philadelphia Orchestra to compose a piece in response to the pandemic, and she wrote Seven O’Clock Shout as an anthem to honor the bravery of doctors, nurses, and other frontline workers. As she worked on the piece, it took on an additional meaning of solidarity as

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ABOUT THE CONDUCTOR

Paul PhilliPs is the Gretchen B. Kimball Director of Orchestral Studies and Associate Professor of Music at Stanford University, where he conducts the Stanford Symphony Orchestra and Stanford Philharmonia, and teaches conducting, musicology, and interdisciplinary courses. He has conducted over 75 orchestras, opera companies, choirs, and ballet troupes worldwide, including the San Francisco Symphony, Dallas Symphony, Detroit Symphony, Orquesta Sinfónica de Salta, Netherlands Radio Chamber Orchestra and Chamber Choir, Opera Providence, and Paul Taylor Dance Company. His five Naxos recordings include Music for Great Films of the Silent Era (Parts 1 and 2) with the RTÉ National Symphony Orchestra (Ireland), Toujours Provence with the Slovak Philharmonic Orchestra, and Manhattan Intermezzo and Anthony Burgess: Orchestral Music with the Brown University Orchestra, recorded during his tenure as Director of Orchestras and Chamber Music at Brown; he has also recorded with the Iceland Symphony Orchestra. With a repertoire of over 1,000 works spanning much of the classical and pops repertoire, Phillips has performed with Itzhak Perlman, Christopher O’Riley, and Carol Wincenc; collaborated with Steve Reich, William Bolcom, George Walker, and many other composers; and led concerts featuring Dizzy Gillespie, Dave Brubeck, Ray Charles, Dionne Warwick, Tony Bennett, Glen Campbell, and many other jazz and pop stars. His honors include 11 ASCAP Awards for Adventurous Programming of Contemporary Music, 1st Prize in the NOS International Conductors Course (Holland) and Wiener Meisterkurse Conductors Course (Vienna), and selection for the Exxon/Arts Endowment Conductors Program. Studies at Eastman, Columbia, and the University of Cincinnati College-Conservatory of Music, and at Tanglewood with Leonard Bernstein, Kurt Masur, Seiji Ozawa, and Leonard Slatkin, led to conducting posts in Europe and the US, including the Frankfurt Opera, Stadttheater Lüneburg, Greensboro Symphony, Greensboro Opera, Maryland Symphony, Savannah Symphony, and Rhode Island Philharmonic. From 1994–2017, Phillips was Music Director/Conductor of the Pioneer Valley Symphony Orchestra and Chorus in Massachusetts. He has led numerous workshops and clinics, including a 2019 Conductors Guild Conductor Training Workshop at Stanford, and is President-Elect of the Western Region of the College Orchestra Directors Association. Phillips has received numerous commissions and awards for his compositions and performed widely as a pianist, including at the Piccolo Spoleto Festival, Carnegie Recital Hall, and Lincoln Center. His orchestration of Stravinsky’s opera Mavra is published by Boosey & Hawkes, and his book A Clockwork Counterpoint: The Music and Literature of Anthony Burgess has been praised in the press as “seamlessly fascinating”. His essays are published in six books on Burgess, including the Norton Critical Edition of A Clockwork Orange, and he serves as Music Advisor to the International Anthony Burgess Foundation in Manchester, England. For further information, visit www.paulsphillips.com.

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protests against police brutality and racism unfolded across the nation in response to the murder of George Floyd in Minneapolis. Upon its completion, Seven O’Clock Shout become a response to death and a celebration of human connection in times of great uncertainty. As Coleman explains: “Seven O’Clock Shout is a declaration of our survival. It is something that allows us our agency to take back the kindness that is in our hearts and the emotions that cause us such turmoil.”

Seven O’Clock Shout received its virtual premiere on 6 July 2020 under the direction of Yannick Nézet-Séguin, music director of the Philadelphia Orchestra. The piece was written specifically for a socially distanced orchestra, with multi-track recording enabling the ensemble to perform together as if they were in the same room. The piece begins with two solo trumpets playing over rolling timpani to represent social isolation and loneliness. Brass fanfare blossoms into a lush, pastoral passage that depicts both the rejuvenation of the earth in a rare time of reduced human activity and the beauty of the daily sacrifices made by essential workers. A brief flute solo leads us into a rhythmic ostinato, or repeating pattern, in the percussion, creating a groove that evokes the hustle and bustle of the New York City streets. The music builds gradually to the “primal scream of celebration” at 7 p.m. — cheers, claps, shouts, and the clanging of pots and pans ring through the air to welcome the frontline workers home. A trombone solo inspired by the traditional African call-and-response style commemorates this moment of solidarity: the trombone “calls” out with an infectious melody, and the rest of the orchestra “responds”’ with a version of the same melody. The piece ends with a triumphant anthem honoring the power of human connection.

— Elea McLaughlin

EdVard GriEG Piano Concerto in A Minor, Op. 16The Norwegian composer and pianist Edvard Grieg wrote the Piano Concerto in A minor, Op. 16, in 1868, during a visit to Søllerød, Denmark. He was 24 years old, and this was his first great masterpiece. It is the only concerto Grieg ever completed. The work received its first performance on 3 April 1869 in the Casino Theater in Copenhagen, with Holger Simon Paulli conducting. Soloist Edmund Neupert used a piano lent for the occasion by the Russian pianist Anton Rubinstein, who attended the premiere.

The concerto is in three movements. The first movement, Allegro molto moderato, is in sonata form, opening with a dramatic timpani roll that lead straight into the main theme. The secondary theme in C major provides a lyrical contrast to the first. When the secondary theme returns in the recapitulation, it appears not in the expected key of A minor but in A major, the parallel major key. The movement ends with a virtuosic cadenza performed by the piano soloist. The following Adagio movement is a lyrical contrast to the preceding drama. The movement is in the key of D-flat major and follows a ternary ABA form. The finale, Allegro moderato molto e marcato, opens with a lively theme in A minor that recalls a traditional Norwegian halling dance — a quick, acrobatic folk dance traditionally performed by young men at parties and weddings. An expressive second theme in F major is followed by a return to the main A minor theme. A section marked Quasi Presto presents a variation of the first theme, now in A major and in the

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the end of the movement for a recording of a live nightingale, which Respighi, taking advantage of the latest developments in recording technology, indicated in the score, with exact notation of when the recording should begin and end.

The final movement, The Pines of the Appian Way, is marked Tempo di Marcia and depicts a Roman army marching along the Appian Way, the great military road, lined with pine trees, that leads to the capital. The movement calls for six buccine, ancient circular brass instruments used in the Roman army. Respighi specifies that these parts be played offstage by three pair of flicorni (flugelhorns) in B♭. In this performance, the flicorni soprani (soprano flugelhorns) are played by two trumpets; the flicorni tenori are played by two flugelhorns, and the flicorni bassi by two baritone horns. Respighi wrote: “Misty dawn on the Appian Way. The tragic countryside is watched over by solitary pines. Indistinctly, incessantly, the rhythm of countless steps. The poet’s imagination conjures a vision of ancient glories: the Roman trumpets blare and a consulate army bursts forth, in the blaze of the newly risen sun, towards the Via Sacra, to triumphantly mount the Capitoline Hill.” A crash of percussion and final flurry of strings and winds bring the piece to a magnificent conclusion. — Elea McLaughlin

And suddenly that nameWill never be the sameTo me.

Maria!I ’ve just

kissed a g i r l named Ma- ria,And sud-

denly I’ve foundHow wonderful a soundCan be!

Maria!Say it loud and there’s music playing,Say it soft and it’s almost like praying.

Maria,I’ll never stop saying Maria!

HELPING STANFORD STUDENTS AND THE LOCAL COMMUNITY

Friends of Music (FoM) is an association of music lovers which seeks to encourage the enjoyment of music within the University and the local community, and to maintain the pre-eminence of the Department of Music in academics and performance. FoM raises

funds for a wide range of activities including scholarships for student music lessons, graduate fellowships, educational programs, concert programs and tours by student ensembles, student financial aid, musical events for community schools, and visiting artists to provide masterclasses and dorm events.We encourage you to join FoM to foster these goals and to share the camaraderie of like-minded people on the Peninsula. To learn more about FoM, access friendsofmusic.stanford.edu, or contact the Friends of Music Liaison at (650) 725-1932.

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triple time signature of ¾. The finale concludes with a return to the lyrical, expressive second theme, this time presented dramatically.

Grieg continued to edit the concerto over his lifetime, making at least seven revisions and a total of three hundred changes to the original orchestration. He completed the final version only weeks before his death, and it is this version that has become the standard one heard in concert and on recordings. An abridged version of the work was recorded by the pianist Wilhelm Backhaus in 1909, making it the first piano concerto ever recorded. Since then, the concerto has made its way into various films, musicals, songs, and even video games. Its memorable melodies, and masterful form and orchestration, have made it one of Grieg’s great masterpieces and one of the most popular piano concertos in the repertoire. — Elea McLaughlin

william Grant still Wood Notes William Grant Still, called the “Dean of Afro-American Composers,” was the preeminent classical African American composer of his generation. Born in 1895 in Woodville, Mississippi, he attended Wilberforce University and Oberlin Conservatory. Still played violin in the US army during the First World War, and later played oboe in the orchestra for the landmark musical Shuffle Along by Noble Sissle and Eubie Blake, to which Langston Hughes attributed the beginning of the intellectual and artistic movement known as the Harlem Renaissance. Still was a prolific composer, and his output includes nine operas, five symphonies, four ballets, and a considerable number of orchestral suites, incidental music, and tone poems. He was also a man of many “firsts” for African American composers: his first symphony, the “Afro-American” (1930), was the first to be performed in the United States by a major orchestra; his opera Troubled Island was the first to be performed by a major company, New York City Opera; he was the first to have an original opera performed on national television; and he was the first to conduct a major American orchestra (the Los Angeles Philharmonic in 1936), as well as the first to conduct a major orchestra in the American Deep South — the New Orleans Philharmonic in 1955.

Wood Notes is a suite for small orchestra. It was first performed on 22 April 1948 by Artur Rodzinski and the Chicago Symphony Orchestra. It is dedicated to F. J. Lehmann, Still’s composition professor at Oberlin Conservatory. Each movement is inspired by a separate poem by J. Mitchell Pilcher, a white journalist and social worker from Montgomery, Alabama. Pilcher was a fan of Still’s and sent him a book of his poetry; Still liked them so much that a selection of the poems became the catalyst for Wood Notes. As Still explained in the program notes for the 1948 premiere: “Wood Notes has a social significance because it is a collaboration between a Southern white man and a Southern-born Negro composer, in which both of the participants were enthused over the project.”

Wood Notes evokes the pastoral landscape of the American South. The opening movement, Singing River, takes its title from a poem Pilcher wrote while looking over the Coosa River in Wetumpka, Alabama. Still captured the flowing waters of the river with swells of strings and brass and a graceful melody that bears the melodic inflection of African American spirituals. The second movement,

5

Autumn Night is a light but eerie jaunt through the woods dominated by a woodwind choir over undulating strings. The mysterious atmosphere continues in the third movement, Moon Disk, with impressionistic textures played “slowly and expressively,” and things turn humorous in the final movement, Whippoorwill’s Shoes. This movement’s title references the nocturnal whippoorwill bird, a popular sonic symbol of rural America. The whippoorwill has been frequently evoked in literature (such as Washington Irving’s The Legend of Sleepy Hollow), poetry, and popular music due to its haunting cry that is heard only at night. It has also been the subject of various legends that link the birdcall to death; another story holds that a pink orchid grows in the earth beneath the trees where the whippoorwill bird cries. These flowers are known as both the pink lady’s slipper and the whippoorwill’s shoe. Still plays with both ideas of birdcall and nature in bloom in this final movement, ending with lively strings and a crash of percussion that signal the coming of a new day. — Elea McLaughlin

ottorino rEsPiGhi Pines of Rome Born and raised in Bologna, Italy, Ottorino Respighi ranks among the most popular Italian composers of the 20th century. Pines of Rome is the second tone poem of his Roman trilogy, along with Fountains of Rome (1917) and Roman Festivals (1928). Pines of Rome premiered on 14 December 1924 at the Augusteo Theater in Rome, with Bernardino Molinari conducting. It received its first American performance two years later, with Arturo Toscanini leading the New York Philharmonic. American audiences may recognize Pines of Rome from the Disney film Fantasia 2000, in which it provides the soundtrack for a pod of flying humpback whales.

The work is in four movements, with each depicting pine trees in Rome at different times of the day. In the score, Respighi provided a brief description of each movement. The opening movement, Pine Trees of the Villa Borghese, describes children playing in the pine groves of a large Roman landscape garden. Respighi wrote that “they dance in circles, they pretend to be soldiers at battle, they shriek and cry like swifts at dusk, and disappear in swarms.” The cellos, horns, bassoon, and English horn present a melody based on the traditional children’s nursery rhyme “Madama Doré,” which is then taken up by the entire orchestra. The children’s innocent dancing gives way to the games of marching soldiers at battle, leading to a dramatic, dissonant climax in the trumpets.

The slow second movement, Pine Trees Near a Catacomb, brings a change of scenery: “We see the shadows of pines that overhang the entrance to a catacomb: from the depths a chant arises, it emerges solemnly like a hymn and mysteriously fades away.” Muted lower strings, horns, and clarinets evoke the darkness of the subterranean catacomb, and the rumbling entrance of the organ marks the movement’s mournful high point.

The Pine Trees of the Janiculum is a pensive, impressionistic movement set on Rome’s Janiculum hill, once the center for the worship of the god Janus. Respighi described the scene: “A thrill runs through the air: in the full moon we see the outlines of the Janiculum pines. A nightingale is singing.” Listen near

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triple time signature of ¾. The finale concludes with a return to the lyrical, expressive second theme, this time presented dramatically.

Grieg continued to edit the concerto over his lifetime, making at least seven revisions and a total of three hundred changes to the original orchestration. He completed the final version only weeks before his death, and it is this version that has become the standard one heard in concert and on recordings. An abridged version of the work was recorded by the pianist Wilhelm Backhaus in 1909, making it the first piano concerto ever recorded. Since then, the concerto has made its way into various films, musicals, songs, and even video games. Its memorable melodies, and masterful form and orchestration, have made it one of Grieg’s great masterpieces and one of the most popular piano concertos in the repertoire. — Elea McLaughlin

william Grant still Wood Notes William Grant Still, called the “Dean of Afro-American Composers,” was the preeminent classical African American composer of his generation. Born in 1895 in Woodville, Mississippi, he attended Wilberforce University and Oberlin Conservatory. Still played violin in the US army during the First World War, and later played oboe in the orchestra for the landmark musical Shuffle Along by Noble Sissle and Eubie Blake, to which Langston Hughes attributed the beginning of the intellectual and artistic movement known as the Harlem Renaissance. Still was a prolific composer, and his output includes nine operas, five symphonies, four ballets, and a considerable number of orchestral suites, incidental music, and tone poems. He was also a man of many “firsts” for African American composers: his first symphony, the “Afro-American” (1930), was the first to be performed in the United States by a major orchestra; his opera Troubled Island was the first to be performed by a major company, New York City Opera; he was the first to have an original opera performed on national television; and he was the first to conduct a major American orchestra (the Los Angeles Philharmonic in 1936), as well as the first to conduct a major orchestra in the American Deep South — the New Orleans Philharmonic in 1955.

Wood Notes is a suite for small orchestra. It was first performed on 22 April 1948 by Artur Rodzinski and the Chicago Symphony Orchestra. It is dedicated to F. J. Lehmann, Still’s composition professor at Oberlin Conservatory. Each movement is inspired by a separate poem by J. Mitchell Pilcher, a white journalist and social worker from Montgomery, Alabama. Pilcher was a fan of Still’s and sent him a book of his poetry; Still liked them so much that a selection of the poems became the catalyst for Wood Notes. As Still explained in the program notes for the 1948 premiere: “Wood Notes has a social significance because it is a collaboration between a Southern white man and a Southern-born Negro composer, in which both of the participants were enthused over the project.”

Wood Notes evokes the pastoral landscape of the American South. The opening movement, Singing River, takes its title from a poem Pilcher wrote while looking over the Coosa River in Wetumpka, Alabama. Still captured the flowing waters of the river with swells of strings and brass and a graceful melody that bears the melodic inflection of African American spirituals. The second movement,

5

Autumn Night is a light but eerie jaunt through the woods dominated by a woodwind choir over undulating strings. The mysterious atmosphere continues in the third movement, Moon Disk, with impressionistic textures played “slowly and expressively,” and things turn humorous in the final movement, Whippoorwill’s Shoes. This movement’s title references the nocturnal whippoorwill bird, a popular sonic symbol of rural America. The whippoorwill has been frequently evoked in literature (such as Washington Irving’s The Legend of Sleepy Hollow), poetry, and popular music due to its haunting cry that is heard only at night. It has also been the subject of various legends that link the birdcall to death; another story holds that a pink orchid grows in the earth beneath the trees where the whippoorwill bird cries. These flowers are known as both the pink lady’s slipper and the whippoorwill’s shoe. Still plays with both ideas of birdcall and nature in bloom in this final movement, ending with lively strings and a crash of percussion that signal the coming of a new day. — Elea McLaughlin

ottorino rEsPiGhi Pines of Rome Born and raised in Bologna, Italy, Ottorino Respighi ranks among the most popular Italian composers of the 20th century. Pines of Rome is the second tone poem of his Roman trilogy, along with Fountains of Rome (1917) and Roman Festivals (1928). Pines of Rome premiered on 14 December 1924 at the Augusteo Theater in Rome, with Bernardino Molinari conducting. It received its first American performance two years later, with Arturo Toscanini leading the New York Philharmonic. American audiences may recognize Pines of Rome from the Disney film Fantasia 2000, in which it provides the soundtrack for a pod of flying humpback whales.

The work is in four movements, with each depicting pine trees in Rome at different times of the day. In the score, Respighi provided a brief description of each movement. The opening movement, Pine Trees of the Villa Borghese, describes children playing in the pine groves of a large Roman landscape garden. Respighi wrote that “they dance in circles, they pretend to be soldiers at battle, they shriek and cry like swifts at dusk, and disappear in swarms.” The cellos, horns, bassoon, and English horn present a melody based on the traditional children’s nursery rhyme “Madama Doré,” which is then taken up by the entire orchestra. The children’s innocent dancing gives way to the games of marching soldiers at battle, leading to a dramatic, dissonant climax in the trumpets.

The slow second movement, Pine Trees Near a Catacomb, brings a change of scenery: “We see the shadows of pines that overhang the entrance to a catacomb: from the depths a chant arises, it emerges solemnly like a hymn and mysteriously fades away.” Muted lower strings, horns, and clarinets evoke the darkness of the subterranean catacomb, and the rumbling entrance of the organ marks the movement’s mournful high point.

The Pine Trees of the Janiculum is a pensive, impressionistic movement set on Rome’s Janiculum hill, once the center for the worship of the god Janus. Respighi described the scene: “A thrill runs through the air: in the full moon we see the outlines of the Janiculum pines. A nightingale is singing.” Listen near

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protests against police brutality and racism unfolded across the nation in response to the murder of George Floyd in Minneapolis. Upon its completion, Seven O’Clock Shout become a response to death and a celebration of human connection in times of great uncertainty. As Coleman explains: “Seven O’Clock Shout is a declaration of our survival. It is something that allows us our agency to take back the kindness that is in our hearts and the emotions that cause us such turmoil.”

Seven O’Clock Shout received its virtual premiere on 6 July 2020 under the direction of Yannick Nézet-Séguin, music director of the Philadelphia Orchestra. The piece was written specifically for a socially distanced orchestra, with multi-track recording enabling the ensemble to perform together as if they were in the same room. The piece begins with two solo trumpets playing over rolling timpani to represent social isolation and loneliness. Brass fanfare blossoms into a lush, pastoral passage that depicts both the rejuvenation of the earth in a rare time of reduced human activity and the beauty of the daily sacrifices made by essential workers. A brief flute solo leads us into a rhythmic ostinato, or repeating pattern, in the percussion, creating a groove that evokes the hustle and bustle of the New York City streets. The music builds gradually to the “primal scream of celebration” at 7 p.m. — cheers, claps, shouts, and the clanging of pots and pans ring through the air to welcome the frontline workers home. A trombone solo inspired by the traditional African call-and-response style commemorates this moment of solidarity: the trombone “calls” out with an infectious melody, and the rest of the orchestra “responds”’ with a version of the same melody. The piece ends with a triumphant anthem honoring the power of human connection.

— Elea McLaughlin

EdVard GriEG Piano Concerto in A Minor, Op. 16The Norwegian composer and pianist Edvard Grieg wrote the Piano Concerto in A minor, Op. 16, in 1868, during a visit to Søllerød, Denmark. He was 24 years old, and this was his first great masterpiece. It is the only concerto Grieg ever completed. The work received its first performance on 3 April 1869 in the Casino Theater in Copenhagen, with Holger Simon Paulli conducting. Soloist Edmund Neupert used a piano lent for the occasion by the Russian pianist Anton Rubinstein, who attended the premiere.

The concerto is in three movements. The first movement, Allegro molto moderato, is in sonata form, opening with a dramatic timpani roll that lead straight into the main theme. The secondary theme in C major provides a lyrical contrast to the first. When the secondary theme returns in the recapitulation, it appears not in the expected key of A minor but in A major, the parallel major key. The movement ends with a virtuosic cadenza performed by the piano soloist. The following Adagio movement is a lyrical contrast to the preceding drama. The movement is in the key of D-flat major and follows a ternary ABA form. The finale, Allegro moderato molto e marcato, opens with a lively theme in A minor that recalls a traditional Norwegian halling dance — a quick, acrobatic folk dance traditionally performed by young men at parties and weddings. An expressive second theme in F major is followed by a return to the main A minor theme. A section marked Quasi Presto presents a variation of the first theme, now in A major and in the

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the end of the movement for a recording of a live nightingale, which Respighi, taking advantage of the latest developments in recording technology, indicated in the score, with exact notation of when the recording should begin and end.

The final movement, The Pines of the Appian Way, is marked Tempo di Marcia and depicts a Roman army marching along the Appian Way, the great military road, lined with pine trees, that leads to the capital. The movement calls for six buccine, ancient circular brass instruments used in the Roman army. Respighi specifies that these parts be played offstage by three pair of flicorni (flugelhorns) in B♭. In this performance, the flicorni soprani (soprano flugelhorns) are played by two trumpets; the flicorni tenori are played by two flugelhorns, and the flicorni bassi by two baritone horns. Respighi wrote: “Misty dawn on the Appian Way. The tragic countryside is watched over by solitary pines. Indistinctly, incessantly, the rhythm of countless steps. The poet’s imagination conjures a vision of ancient glories: the Roman trumpets blare and a consulate army bursts forth, in the blaze of the newly risen sun, towards the Via Sacra, to triumphantly mount the Capitoline Hill.” A crash of percussion and final flurry of strings and winds bring the piece to a magnificent conclusion. — Elea McLaughlin

And suddenly that nameWill never be the sameTo me.

Maria!I ’ve just

kissed a g i r l named Ma- ria,And sud-

denly I’ve foundHow wonderful a soundCan be!

Maria!Say it loud and there’s music playing,Say it soft and it’s almost like praying.

Maria,I’ll never stop saying Maria!

HELPING STANFORD STUDENTS AND THE LOCAL COMMUNITY

Friends of Music (FoM) is an association of music lovers which seeks to encourage the enjoyment of music within the University and the local community, and to maintain the pre-eminence of the Department of Music in academics and performance. FoM raises

funds for a wide range of activities including scholarships for student music lessons, graduate fellowships, educational programs, concert programs and tours by student ensembles, student financial aid, musical events for community schools, and visiting artists to provide masterclasses and dorm events.We encourage you to join FoM to foster these goals and to share the camaraderie of like-minded people on the Peninsula. To learn more about FoM, access friendsofmusic.stanford.edu, or contact the Friends of Music Liaison at (650) 725-1932.

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PROGRAM NOTES

Paul PhilliPs Black Notes and White Arnold Black (1923–2000) was a remarkable man renowned for his superb musicianship, wit, and intelligence, and his endearing personality. Born in Philadelphia, he graduated from The Juilliard School with majors in violin and composition and went on to serve as assistant concertmaster of the National Symphony Orchestra and concertmaster of the Baltimore Symphony — accomplishments made all the more remarkable by the fact that he was born with cerebral palsy, which restricted mobility on his right side. Arnold went on to become an extremely successful composer of jingles, as well as music for theatre (especially Circle in the Square Theatre in Manhattan), concert works, and an opera based on The Phantom Tollbooth by his friend Norton Juster. In 1969, Arnold and his wife Ruth founded the Mohawk Trail Concerts in Charlemont, Massachusetts, a renowned summer concert series now in its 51st year, and by the time I became friends with them shortly after becoming music director of the Pioneer Valley Symphony Orchestra and Chorus in 1994, they were at the center of musical life in western Massachusetts.

To launch the Pioneer Valley Symphony’s 2000–01 season (“A New England Celebration”) with a premiere, we commissioned Arnold to compose a new fanfare for the orchestra, but in June 2000, he died at his home in Charlemont before he completed the work. Later that summer, when Ruth handed me Arnold’s unfinished sketches for the fanfare, which included a noble, diatonic theme in C major, I decided to finish what he had started, embedding his theme in a composition for brass, percussion, and organ titled Black Notes and White: A New England Fanfare, dedicated to the memory of Arnold Black. It begins in F# major (“black notes”) with an original theme of mine, then switches to Arnold’s theme in C major (“white notes”) played by the brass starting with trumpets. The music then returns to F# major with both themes played in counterpoint — mine in the organ and Arnold’s in the brass. Black Notes and White was premiered by the Pioneer Valley Symphony under my direction on 27 October 2001 at Smith College in Northampton, Massachusetts. It opened a concert in John M. Greene Hall of works by Respighi, Poulenc, and Saint-Saëns that all featured organ to celebrate the restoration of that hall’s pipe organ. On this program, Stanford University organist Robert Huw Morgan performs the organ part in Black Notes and White on Stanford’s new Hauptwerk organ, marking the first time that it has been played in Bing Concert Hall. — Paul Phillips

ValEriE ColEman Seven O’Clock Shout Early in the COVID-19 pandemic, Valerie Coleman was inspired by the daily cheers that could be heard from windows and balconies across New York City at 7 p.m. each evening as they welcomed essential workers returning home from their shifts. Coleman was commissioned by the Philadelphia Orchestra to compose a piece in response to the pandemic, and she wrote Seven O’Clock Shout as an anthem to honor the bravery of doctors, nurses, and other frontline workers. As she worked on the piece, it took on an additional meaning of solidarity as

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ABOUT THE CONDUCTOR

Paul PhilliPs is the Gretchen B. Kimball Director of Orchestral Studies and Associate Professor of Music at Stanford University, where he conducts the Stanford Symphony Orchestra and Stanford Philharmonia, and teaches conducting, musicology, and interdisciplinary courses. He has conducted over 75 orchestras, opera companies, choirs, and ballet troupes worldwide, including the San Francisco Symphony, Dallas Symphony, Detroit Symphony, Orquesta Sinfónica de Salta, Netherlands Radio Chamber Orchestra and Chamber Choir, Opera Providence, and Paul Taylor Dance Company. His five Naxos recordings include Music for Great Films of the Silent Era (Parts 1 and 2) with the RTÉ National Symphony Orchestra (Ireland), Toujours Provence with the Slovak Philharmonic Orchestra, and Manhattan Intermezzo and Anthony Burgess: Orchestral Music with the Brown University Orchestra, recorded during his tenure as Director of Orchestras and Chamber Music at Brown; he has also recorded with the Iceland Symphony Orchestra. With a repertoire of over 1,000 works spanning much of the classical and pops repertoire, Phillips has performed with Itzhak Perlman, Christopher O’Riley, and Carol Wincenc; collaborated with Steve Reich, William Bolcom, George Walker, and many other composers; and led concerts featuring Dizzy Gillespie, Dave Brubeck, Ray Charles, Dionne Warwick, Tony Bennett, Glen Campbell, and many other jazz and pop stars. His honors include 11 ASCAP Awards for Adventurous Programming of Contemporary Music, 1st Prize in the NOS International Conductors Course (Holland) and Wiener Meisterkurse Conductors Course (Vienna), and selection for the Exxon/Arts Endowment Conductors Program. Studies at Eastman, Columbia, and the University of Cincinnati College-Conservatory of Music, and at Tanglewood with Leonard Bernstein, Kurt Masur, Seiji Ozawa, and Leonard Slatkin, led to conducting posts in Europe and the US, including the Frankfurt Opera, Stadttheater Lüneburg, Greensboro Symphony, Greensboro Opera, Maryland Symphony, Savannah Symphony, and Rhode Island Philharmonic. From 1994–2017, Phillips was Music Director/Conductor of the Pioneer Valley Symphony Orchestra and Chorus in Massachusetts. He has led numerous workshops and clinics, including a 2019 Conductors Guild Conductor Training Workshop at Stanford, and is President-Elect of the Western Region of the College Orchestra Directors Association. Phillips has received numerous commissions and awards for his compositions and performed widely as a pianist, including at the Piccolo Spoleto Festival, Carnegie Recital Hall, and Lincoln Center. His orchestration of Stravinsky’s opera Mavra is published by Boosey & Hawkes, and his book A Clockwork Counterpoint: The Music and Literature of Anthony Burgess has been praised in the press as “seamlessly fascinating”. His essays are published in six books on Burgess, including the Norton Critical Edition of A Clockwork Orange, and he serves as Music Advisor to the International Anthony Burgess Foundation in Manchester, England. For further information, visit www.paulsphillips.com.

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ABOUT THE SOLOIST

Ethan andrEw Chi ’22 is a senior studying Music and Computer Science and an M.S. candidate in Computer Science. He studies piano with Frederick Weldy and organ with Robert Huw Morgan. Previously, he studied piano with Erna Gulabyan, violin with Debra Fong, and organ with Angela Kraft Cross. Ethan has been a prizewinner in the Ross McKee Competition and the Young Pianists Beethoven Competition, among others, and played in masterclasses with Jon Nakamatsu, Hans Boepple, and Sharon Mann. He also plays violin in the Stanford Symphony Orchestra and served as President of the Orchestra Committee in 2020. He loves all kinds of music — from Josquin motets to Debussy to even disco — and can’t imagine life without it. Ethan has lectured and served as a Teaching Assistant in several Computer Science courses and published papers with the Stanford Natural Language Processing and Machine Learning Group based on his research in these fields. At home, he can be found playing with the family dogs, Steinway and Stradivarius.

ABOUT THE ENSEMBLE

The stanford symPhony orChEstra is one of the America’s leading collegiate orchestras, with a distinguished history dating back to 1891, the year that Stanford University was founded. With a membership of 115 undergraduate and graduate students, the SSO rehearses on Monday and Thursday evenings and presents about ten concerts annually on campus. The orchestra performs repertoire from the Baroque to the present, frequently with outstanding student and faculty soloists as well as renowned visiting artists. Recent collaborations with Stanford Live include a pops concert with vocalist Darlene Love; the US premiere of Danny Elfman’s Violin Concerto, featuring soloist Sandy Cameron and guest conductor John Mauceri; Rob Kapilow’s “What Makes It Great?” on Schubert’s “Unfinished” Symphony; and a performance with composer Nitin Sawhney. Each year, the SSO performs the Halloween Concert in collaboration with the Stanford Wind Symphony, collaborates with the Stanford Symphonic Chorus, and hosts the annual Concerto Competition to give talented Stanford students the opportunity to perform as orchestral soloists.Like its sister organization Stanford Philharmonia, the Stanford Symphony Orchestra is supported by the Department of Music and the Associated Students of Stanford University (ASSU). Membership is open to all Stanford undergraduate and graduate students, faculty, staff, and members of the community. Anyone interested in auditioning for the Stanford Symphony Orchestra or Stanford Philharmonia should contact Orchestra Administrator Adriana Ramírez Mirabal at orchestra@stanford.edu. For further information, visit orchestra.stanford.edu.

PROGRAM

I

Black Notes and White California premiere Paul Phillips (b. 1956)

I I

Seven O’Clock Shout Valerie Coleman (b. 1970)

I I I

Piano Concerto in A Minor, Op. 16 Edvard Grieg I. Allegro molto moderato (1843–1907) II. Adagio –– III. Allegro moderato molto e marcato

Ethan Chi ’22, pianist2020 Concerto Competition Winner

INTERMISSION

IV

Wood Notes William Grant Still I. Singing River. Moderately slow (1895–1978) II. Autumn Night. Lightly III. Moon Dusk. Slowly and Expressive IV. Whippoorwill’s Shoes. Humorously

V

Pines of Rome Ottorino Respighi I. The Pine Trees of the Villa Borghese. Allegretto vivace (1879–1936) II. Pine Trees Near a Catacomb. Lento III. The Pine Trees of the Janiculum. Lento IV. The Pine Trees of the Appian Way. Tempo di Marcia

to EnsurE a morE PlEasant ExPEriEnCE for all: No food, drink, or smoking is permitted in the concert hall. Cameras and other recording equipment are prohibited. Please ensure that your phone, other electronic devices, or watch alarm are all turned off. an additional notE to ParEnts: We appreciate your effort in bringing your children to a live music performance. Out of respect for other audience members and the performers, we count on you to maintain their quiet and attentive behavior. Thank you.

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STANFORD’S LAND ACKNOWLEDGMENT STATEMENT

Stanford sits on the ancestral land of the Muwekma Ohlone Tribe. This land was and continues to be of great importance to the Ohlone people. Consistent with our values of community and inclusion, we have a responsibility to acknowledge, honor, and make visible the University’s relationship to Native peoples.

www.stanford.edu/native-peoples-relationship

COVID-19 SAFETY PROTOCOLS FOR DEPARTMENT OF MUSIC EVENTS

The Stanford Department of Music looks forward to presenting in-person events in our venues again as we begin the 2021–22 academic year. Our patrons should be aware that campus-wide COVID policies are still in effect. The following policies are based on current state, local, and university guidance. As has been the case for the past several months, this information is subject to change; we will keep you informed via our various publicity channels and signage posted at our venues regarding current COVID policies applying to our concerts.

Patrons should stay home if they are experiencing a fever or any COVID-19 symptoms, have tested positive for COVID-19 within the past 14 days, or have had close contact with anyone who is confirmed or is suspected of having COVID-19.

In accordance with University requirements for visitors, all visitors (including children) coming to Stanford for indoor or outdoor activities must meet at least one of two criteria: 1) Be fully vaccinated against COVID-19. 2) Receive a negative COVID-19 test within 72 hours prior to arrival onsite.

Masks are required for both unvaccinated and vaccinated patrons across all Department of Music venues. Patrons should bring their own face masks that fully cover their nose and mouth and must wear them at all times. Masks with valves will not be allowed.

While we are taking measures to enhance the safety of our patrons and employees, an inherent risk of exposure to and infection with COVID-19 exists in any public place where people are present, and a visit to a Department of Music venue may still pose a risk to your safety. By visiting a Department of Music event, you voluntarily assume all risks related to exposure of COVID-19. Failure to follow these guidelines will result in removal from the venue.

STANFORD SYMPHONY ORCHESTRAPaul PhilliPs, Music Director and Conductor

Violin i

Robert Hu, concertmasterRoger XiaPeyton LeeSusan LeeConstance HorngAnna KiesewetterKevin ChenMichelle FuSophia KreiderKatie LiuRyan NguyenSydney YanRyan ChiLucy Chae

Violin ii

Sean Mori, principalRichard CheungElizabeth JerstadMeilinda SunHannah WaltonLina FowlerYoungju KimMax SolbergAudrey NelsonRachel ClintonDaichi Skye HoriguchiE Ju RoSophie AndrewsJefferson Dixon

Viola

Addison Jadwin, principal Julia HernandezMiraclestar DobyBrent JuVibiana CardenasRafael Seifu-SchmeingZack BentonIngrid NordbergAman MalhotraChinmay LalgudiSuhas SastryWesley TjangnakaMinh LeDaniel Musachio

Violoncello

Erik Roise, principalAdam ZhaoHaoming SongSimone HsuBrandon KangDaniel BishopJonathan PakJessica LeeKevin JungHannah KimIrene JeongRachel CleavelandCamellia YeNoah Eckman

Contrabass

Bryant Huang, principalKevin MartinCece La PumaAnika FuloriaKayla VodehnalPablo Ocampo

Flute

Kyle SwansonKristie ParkLaura FutamuraCyndia YuMelinda Zhu

Piccolo

Cyndia YuKyle Swanson

Oboe

Kwyn Demmert Benji Reade MalagueñoAaron JinJordan RothkowitzDeborah Jantz

English Horn

Benji Reade MalagueñoKwyn Demmert

Clarinet

Jackson WillisZoe SchrammAudrey Shih

Bass Clarinet

Robert Matthew Wood

Bassoon

Teddy ZhangSonny YoungSagada PenanoVeronica PrattJack Liu

(continued)

Stanford Symphony Orchestra Paul Phillips music director and conductor

Ethan Chi piano soloist

BING CONCERT HALL FRIDAY, 12 NOVEMBER 2021 SATURDAY, 13 NOVEMBER 2021 7:30 P.M.

STANFORD UNIVERSITY DEPARTMENT OF MUSIC

The Stanford Symphony Orchestra wishes to thank Joan Mansour for her recent contribution, and gratefully acknowledges support from our community. If you are interested in learning more about supporting the Stanford Symphony Orchestra, or wish to support Stanford Philharmonia’s upcoming concert tour of Bermuda in March 2022 with a tax-deductible contribution, please contact Tamar Sofer-Geri at tamars@stanford.edu or (650) 464-4236.

Contrabassoon

Jack Liu

Horn

Brennan BowerTheo MaklerClare PhelpsMitchell GarmanyJames CollingsKC Chan

Trumpet

Colin Ovens Johnny DollardEllie FajerAvi GuptaCameron CampDhruv VazeJustine Sato

Flugelhorn

Cameron CampAaron Ghrist

Trombone

Joseph DiazSamuel KwokBrian Pham

Bass Trombone

Taran Kota

Baritone Horn

Noah IslamBrian Pham

Tuba

Andrew LiNoah IslamBrian Pham

Timpani Griffin MillerEshaan RawatJack Xiao

Percussion Ireh KimKatie ChangNaomi MoSeve ReyesSunny SunJack XiaoEshaan RawatGriffin Miller

Harp Vivian TangRenee QinAngelina Chan

Piano Jason Guo

Celesta Jocelyn Chen

Organ Robert Huw Morgan

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Stanford Symphony Orchestra gratefully acknowledges Zack Leuchars and Daniel Valdez for their production assistance with the livestreamed

performance, and the Department of Music and ASSU for their generous support of Stanford’s orchestral program.